The other day I was talking to my teenage son about the portrait photography industry and how it has evolved throughout the years. We were discussing the business of doing business and how people assign value to emotional objects such as photographs. As we talked about creating pricing structures for the products that a photographer may carry, he said, “Well, of course they are not paying you for the paper! They are paying you for what you put on it!” I must say that, as his mother and a photographer, my heart sort of skipped a beat when I heard him “get it” without even a hint from me. As I mentioned last week, there are real reasons that we ought to remember the importance of printed portraits. But the value of professionally designed portraits is not contained in paper and ink. It is in the image itself. Your photographer is going to most certainly charge more than what a blank piece of fancy paper costs because they are not selling you a blank piece of fancy paper. The photographer brings the only element that truly imbues that piece of paper with any kind of meaningful value. The image.
Think about it. Reams of paper and drums of even the finest pigments will never ever on their own be referred to by a mother as “priceless” the way that a family portrait will. Why? Because we do not pay photographers for ink and paper. We pay them for the images they capture. Some call it art. And for the photographer who has spent years studying photography, yes it is her business but it is also her art. It’s a piece of herself because she has invested so much of her life into her ability to capture the light and shadows, the movement, the emotion.
While the value of printed portraits is not in the raw materials alone, my clients understand that I pour myself into my work and that I won’t rest until I have placed a beautiful finished product in their hands. They know that I will not deliver a piece that isn’t made excellently and designed to last a lifetime (and longer because portraits are not just for us!) This is why I only sell archival quality fine art prints.
Why archival prints?
There are numerous types of tree based papers on which your portrait designer can opt to print your images. Wood based papers though are often laced with substantial concentrations of acid, which causes deterioration and yellowing over time. Cotton based papers, on the other hand, are highly resistant to fading, discoloration and deterioration. My fine art prints are made on 100% cotton fiber or (depending on the finish you select) sometimes non-cotton Alpha Cellulose based papers sourced from a company that has been the premier provider of museum quality papers for more than 400 years. Printed on highly calibrated wide gamut precision printers, the inks used can combine to create millions of color variations, many more than your standard large format printers, which accounts for the depth, richness and clarity of colors in fine art prints.
While renowned for holding their color and clarity for many decades, Fine Art Prints are not impervious to environmental stressors. One still must be careful to treat them well in order to keep them looking their best. The fact is, for all photographic prints, archival included, the safest environment is a dark, climate controlled one. Not many of us invest in family and wedding portraits in order to hide them away. That you will display them is largely unquestioned. Here are some quick tips for caring for your portraits in a way that will best preserve their integrity while being enjoyed.
Fine Art Portrait Care Tips
- Avoid touching the ink. Whether you use cotton gloves when handling them or not, is up to you. At the very least, wash your hands with soap and dry them well before handling your prints. I have begun to include a pair of cotton gloves when I deliver your prints so that you can handle them appropriately.
- Avoid tapes. If tapes must be used to secure the portrait to a mat, be sure that the tape is an acid-free archival tape. These can be found at local arts & crafts stores.
- If possible hang them out of direct sunlight.
- No direct contact with glass. Archival acid-free mats should always be used. Portraits that are pressed straight up against glass will bond with the glass over time, making it impossible to ever remove the portrait from the frame without significant damage. As for the type of glass used, it is largely up to personal preference. Acrylic glazing with a UV protectant can be purchased at almost any custom framer’s shop. It is unbreakable, lightweight, easy to clean with normal household cleaners, reduces condensation and comes in an anti-glare variety as well. This is what many museums use to protect their works of art.